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An intriguing scholarly investigation, not so much of the ways the late eighteenth and early nineteenth centuries articulated pain, but of the ways in which pain itself articulated the late eighteenth-century experience. Through analysis of novels, plays, and poems, the author explores the transition from sensibility as a sense of "selflessness" to Romanticism, which puts the self in the foreground as the mediating consciousness. His tightly focused discussion sets a starting point for further critical investigation of the subject.
An intriguing scholarly investigation, not so much of the ways the late eighteenth and early nineteenth centuries articulated pain, but of the ways in which pain itself articulated the late eighteenth-century experience. Through analysis of novels, plays, and poems, the author explores the transition from sensibility as a sense of "selflessness" to Romanticism, which puts the self in the foreground as the mediating consciousness. His tightly focused discussion sets a starting point for further critical investigation of the subject.
The gothic, particularly in its contemporary incarnations, is often constructed around largely disembodied concepts such as spectrality or the haunted. Body Gothic offers a counter-narrative that reinstates the importance of viscerality to the gothic mode. It argues that contemporary discourses surrounding our bodies are crucial to our understanding of the social messages in fictional mutilation and of the pleasures we may derive from it. This book considers a number of literary and cinematic movements that have, over the past three decades, purposely turned the body into a meaningful gothic topos. Each chapter in Body Gothic is dedicated to a different corporeal subgenre: splatterpunk, body horror, the new avant-pulp, the slaughterhouse novel, torture porn and surgical horror are all covered in its pages. Close readings of key texts by Clive Barker, Richard Laymon, Joseph D'Lacey, Matthew Stokoe, Tony White or Stanley Manly are provided alongside in-depth analyses of landmark films such as Re-Animator (1985), The Fly (1986), Saw (2004), Hostel (2005), The Human Centipede (2011) and American Mary (2012).
This innovative book is the first to make an explicit link between constructions of the body in Gothic literature and film and historically specific fashion discourse, from the 1790s to the 1990s.
While overlooked by extant studies of the Gothic, William Blake’s literary and visual oeuvre embodies the same obsessions and fears that inform the Gothic revival with which he was contemporary.
Gothic Remains: Corpses, Terror and Anatomical Culture, 17641897 traces anatomical culture in Gothic texts from Horace Walpole to Bram Stoker, showing how the Gothic developed and evolved alongside the medical profession, and proposing a genealogy of some of the Gothic texts that marked the eighteenth and nineteenth centuries.
The gothic, particularly in its contemporary incarnations, is often constructed around largely disembodied concepts such as spectrality or the haunted. Body Gothic offers a counter-narrative that reinstates the importance of viscerality to the gothic mode. It argues that contemporary discourses surrounding our bodies are crucial to our understanding of the social messages in fictional mutilation and of the pleasures we may derive from it. This book considers a number of literary and cinematic movements that have, over the past three decades, purposely turned the body into a meaningful gothic topos. Each chapter in Body Gothic is dedicated to a different corporeal subgenre: splatterpunk, body horror, the new avant-pulp, the slaughterhouse novel, torture porn and surgical horror are all covered in its pages. Close readings of key texts by Clive Barker, Richard Laymon, Joseph D'Lacey, Matthew Stokoe, Tony White or Stanley Manly are provided alongside in-depth analyses of landmark films such as Re-Animator (1985), The Fly (1986), Saw (2004), Hostel (2005), The Human Centipede (2011) and American Mary (2012). Contents Introduction: From Gothic Bodies to Body Gothic Chapter 1 – Splatterpunk Chapter 2 – Body Horror Chapter 3 – The New Avant-Pulp Chapter 4 – The Slaughterhouse Novel Chapter 5 – Torture Porn Chapter 6 – Surgical Horror Conclusion: The Gothic and the Body Notes Works Cited Filmography
The Gothic mode, typically preoccupied by questions of difference and otherness, consistently imagines the Other as a source of grotesque horror. The sixteen critical essays in this collection examine the ways in which those suffering from mental and physical ailments are refigured as Other, and how they are imagined to be monstrous. Together, the essays highlight the Gothic inclination to represent all ailments as visibly monstrous, even those, such as mental illness, which were invisible. Paradoxically, the Other also becomes a pitiful figure, often evoking empathy. This exploration of illness and disability represents a strong addition to Gothic studies.
Through an investigation of the body and its oppression by the church, the medical profession and the state, Dangerous bodies reveals the actual horrors lying beneath fictional horror in settings as diverse as the monastic community, slave plantation, operating theatre, Jewish ghetto and battlefield trench. It provides original readings of canonical Gothic literary and film texts including The Castle of Otranto, The Monk, Frankenstein, Dracula and Nosferatu. This collection of dangerous bodies is traced back to the effects of the English Reformation, Spanish Inquisition, French Revolution, Caribbean slavery, Victorian medical malpractice, European anti-Semitism and finally warfare. The endangered or dangerous body lies at the centre of the clash between victim and persecutor and has generated tales of terror and narratives of horror, which function to either salve, purge or dangerously perpetuate such oppositions.